I found photos of Jane Morris online. She was something out of this world. Her exotic beauty, her tremendously nostalgic gaze. This is where Jane became an additional connection and inspiration to my own work. There was a muse in Morris’ life, a woman, a wife, a mother, a lover, who had longings and feelings, with a distinctly unique heartbeat. And finally, I discovered Morris’s poetry, they blew my mind. Romantic, complex and thick with nostalgia. I was trapped in a whirlwind. Everything about his life and aspirations pulsated a living heartbeat. Everything about his ideas and his work was whispering in my ears, longing to get out into the world again.
This collection tells a story, a story of romanticism, of an ideal garden, an earthly paradise. The muse in this collection, speaks of the longing for a thousand kisses upon her face, of a thousand promises for the future. The flowers represent her heartbeat and they speak of a thousand caresses upon the skin.
The patterns of the heart are a mystery, a whirling mass of energy, never satisfied with one single emotion, always seeking more complex ones. The heart watches the tapestry of springtime colours, the stillness of a winter day and it beats its unique pattern of life.Each flower in these paintings are slightly different from each other because each heartbeat is ever so slightly different to the previous one. Our emotions determine the speed of each heartbeat. Thus with each heartbeat we evolve into a slightly new person. This new collection is an evolution, the evolution of myself as well as of my muses who have also grown into new women since I started my very first collection.
This collection seeks to describe the tapestry of the heart.
The addition of William Morris’s poetry on the back of each painting is perhaps the most intimate part of the painting. The part that one only sees if he or she can detach the painting off the wall. I have added this element of writing on the back of my paintings for quite a number of years now.
In each painting, the muse posing for the painting, I capture the external aspect of her body, maily her back, so that one can feel the presence of her unique character, rather than be distracted by the nudity. Then we have the symbolic backgrounds that represent her inner thoughts, her heartbeat. And finally the inscriptions on the back together with the colour palette of the painting, represent the more codified aspects of the painting, perhaps the more mystic part of a person, the soul. The additional poetry or text and colour palette on the back, are as important to me, much as the renaissance painters used to inscribe the formulas of determined colours they created from raw materials. It is a secret corner and tiny detail to the painting.